Peven wrote:Aaaaaand once again the main site gets smoked on a breaking story as other entertainment sites out there already have the news up about Harrison Ford being in the new ST movie while there isn't a word about it on aicn.....

Funniest part about that is the video at Latino Review where they talk about the creation of the LR website - how it was created "back in the day when Ain't It Cool News was at the height of its power"

OH SHIT, SON!!!!!Now AICN gets its scoops from Latino Review!!!!

Achievement Unlocked: TOTAL DOMINATION (Win a Werewolf Game without losing a single player on your team)

Black Hole was the most expensive movie Disney ever made when it was released in 1979 with a cast that included Maximilian Schell, Anthony Perkins, and Ernest Borgnine.

The original followed a group of space explorers aboard the USS Palomino who come across a lost ship, the USS Cygnus, hovering outside a black hole. Inside the Cygnus, the explorers meet a scientist commanding an army of faceless robots, who explains that his crew deserted him as he planned to go through the black hole. The explorers soon discover that the robots are the remnants of the former crew and that the scientist has no intention of letting them leave.

Disney put the remake into development in 2009. Travis Beacham was writing the script at the time, and Kosinski was working on the project while prepping the Tron reboot.

Among the signature pieces of the original movie were a threatening red robot named Maximillian as well as two kindlier robots named V.I.N.CENT and B.O.B.

It is unknown if those characters will return, but the new take, which restarts the project, has been described as being big idea -- philosophical and somewhat dark in tone.

Spaihts also wrote the screenplay for The Darkest Hour, an alien-invasion thriller produced by Timur Bekmambetov and is writing a script for Universal’s reboot of The Mummy.

We have some exciting news coming on that very soon. And that’s a project I’m very excited about. It’s about a deep kind of space trip to the centre of the galaxy where there’s a supermassive black hole. We’ve got a good idea for that as well.

We have some exciting news coming on that very soon. And that’s a project I’m very excited about. It’s about a deep kind of space trip to the centre of the galaxy where there’s a supermassive black hole. We’ve got a good idea for that as well.

Actually, Black Hole is one of the mediocre Sci-fi movies that could do well from a reboot.

It's got adventure, spurious sci-fi but possibly good sci-fi nonetheless, action, and you've got some awesome action figures if you do it right.

There was a time (around 1997) when I prettymuch looked like James Franco's character in this movie. The braided hairs, the Hawaiian shirts 'n wifebeaters, the big sunglasses, posing with guns while playing rap music, watching SCARFACE in a non-stop loop. So I felt a certain kinship with this movie. But beyond capturing the look and behaviour, writer-director Harmony Korine captures the hypnotic feeling of partying and how good it feels it to be young and just do drugs and dance and grind for hours and days on end. That pulse of adreniline, tits, and music runs through this movie. If tonight is what it means to be young, then this movie takes place tonight, even though I saw it yesterday.

The film won me over with its understanding of the youthful mentality of these four girls who just want to party. Then when James Franco's character shows up, the real plot starts up and revolves around his dream of getting a posse of hot girls to be his henchwomen in a crimewave to take on his rival, who was his childhood best-friend and has an ice cream cone tattooed on face. By the time we get to the part where Franco performs a Britney Spears ballad on an outdoor piano while the girls dance ballet with shotguns while wearing pink unicorn ski-masks, I was in love with this movie.

This is a coming-of-age movie, much like Y TU MAMA TAMBIEN and FOXES, except that it looks and feels nothing like those movies on the surface. It looks more and feels more like MIAMI VICE with its minimalist dialogue and use of lighting, music, and editing to moods. Franco gives an excellent performance and totally commits to playing this guy in a sincere way. The four girls fit well into their roles (Gomez is the timid one, Benson is the daring one, Hudgens is the cockmonster, Korine's wife is the passed-out one). There's this one motif in the movie in which the girls all call their mums or nans and tell them how much fun they are having. All four actresses perform these scenes like they are reading their lines and not having an actual conversation. If it had just been one girl who sounded like that, I probably would've just thought it was bad acting, but all four sounding so dry in these one-sided conversations makes me think it was some sort of deliberate stylistic choice on behalf of Korine.

I think this film is really good. I really enjoyed it and woke up this morning still thinking about it an smiling. Spring break 4-ever, bitchez!

Agustin Mango wrote:When asked if Hollywood's response to a lack of original ideas is to rely on remakes, the Three Amigos director replied: "There are no original ideas. What there is -- and this is something no one understands -- is that it is never about the idea, it is about the execution of the idea."

"It's very common now to spend more money selling a movie than making a movie. So the reason they make remakes and sequels is because they're brands, like Coca Cola. They remake movies because they have presold titles. It's tragic, because you have things like Tobe Hooper's The Texas Chainsaw Massacre, which is a brilliant movie, and yet the remakes have made a lot more money," he added.

Linda Ge wrote:Here’s something they didn’t announce, but we know to be true: Wasikowska’s Alice and Depp’s Hatter may not be the only versions of those characters to show up in the movie. Word is Disney and new director James Bobin are looking to cast younger versions of both characters.

The studio has picked up a pitch from Robert Rugan, an award-winning commercials director, who is writing an updated take on the characters in what is being envisioned as a live-action/CG hybrid.

Mandeville Films/TV, the Disney-based production shingle run by David Hoberman and Todd Lieberman that is also behind the studio’s Muppets franchise, is producing.

Chip ‘n’ Dale first appeared in a 1943 animated short starring Pluto, and went on to appear in 22 reels stretching into the mid-1950s where the duo either annoyed Mickey’s faithful four-legged friend or squared off against Donald Duck.

They popped up in various Disney cartoons and comics but got a makeover in in 1989 with Chip ‘n Dale Rescue Rangers. The show saw Chip, the brains behind the pair, and Dale, the goofball, running a detective agency and helping animal clients. Disney made three seasons' worth of shows that then ran in syndication for the next decade on The Disney Channel.

It is from Rescue Rangers that the new project would spring as it tells an origin story of sorts.

Live-action/CG hybrids have proven to be quite successful. Fox is in the process of making a fourth Alvin and the Chipmunks picture while Sony Pictures Animation made two Smurfs movie.

Mandeville's Muppets Most Wanted hits theaters March 21.

Rugan has done spots for companies such as Visa, IFC, HBO, Kodak, Nikon and Durex, winning two CLIO Awards and the CyberLion at Cannes. He was also behind popular video Wiley vs Rhodes, a live-action spoof of a Wile E. Coyote and Road Runner cartoon.

Rugen is attached to direct Genies (aka Children of the Lamp) at Paramount with Color Force (The Hunger Games) attached to produced. He is currently adapting the book series The Genius Files for Warners and wrote an original script titled Beauregard Thibodeau to which he is attached to direct while Logan Pictures is on board to produce.

Lucas Shaw wrote:Dickerman, who’s been at Sony since 2005, is said to be taking a role at another studio

Columbia Pictures EVP of Production Sam Dickerman is leaving the studio and taking a similar job at Disney, according to two individuals familiar with the executive’s plans. He will be EVP of production at Disney, reporting to Sean Bailey, president of motion picture production at Walt Disney Studios.

Dickerman recently supervised “American Hustle,” the David O. Russell film that has grossed more than $100 million and will contend for seven awards at the Golden Globes this weekend. He also oversaw the production of films such as “Click,” “Salt,” “Paul Blart: Mall Cop” and “Grown Ups.”

Dickerman has been talking with the studio about his future for the past several months, and ultimately decided to move on. Sony has brought on a lot of executive talent in the past year, including new production chief Michael DeLuca and TriStar Pictures head Tom Rothman, while at the same time looking to streamline its executive ranks. Dickerman felt there was more opportunity for him to advance his career elsewhere.

Though one individual said the move was tied to DeLuca’s arrival, another strongly rejected that characterization and said it was a normal transition in the career of an executive.

Sony declined to comment, as did Disney. Dickerman will help make movies for a studio looking to produce a few more movies than it has in recent year. Disney released three in-house productions in 2013, but will release six of its own productions this year, including a new “Muppets” film and “Maleficent.”

Dickerman has been at Sony since 2005. The studio promoted him from SVP to EVP in 2011 after the success of many of the titles he shepherded.

His departure is the latest in a string of changes at the studio. Steve Elzer, the film studio’s media relations chief, left in September. The departure of marketing chief Marc Weinstock followed shortly thereafter and home entertainment chief David Bishop left in December. Man Jit Singh has taken over for Bishop.

Sources expect more changes at the studio in the coming weeks and months, as Sony continues to streamline its studio into a more efficient, transparent operation — the result of a rough summer at the box office and the public comments from shareholder Dan Loeb.

MIKE FLEMING JR wrote:Warner Bros EVP Production Lynn Harris is departing the studio. There has long been speculation that she could wind up at Disney after working so long for current Disney boss Alan Horn during his time at Warners, though Disney today just hired Sam Dickerson with that title from Sony’s Columbia. Harris is as as top-flight an exec as you will find out there; while at New Line she did movies like Se7en, and she was the unsung here on Alfonso Cuaron’s Gravity which is now up for 10 Oscars.

MIKE FLEMING JR wrote:Ronning and Sandberg are directing what is one of the most expensive TV pilots in history, for the Netflix/Weinstein Company miniseries Marco Polo. And despite what I’m reading today about the Pirates Of The Caribbean sequel being shelved, the fact is that the Pirates sequel will begin at year’s end. Some of this solidification of Pirates is no doubt attributable to today’s spec action. If Disney sets sail in this timeline, Winter’s Knight would not happen until after Ronning and Sandberg finish the Pirates sequel. They’ve got other big fish on the hook as well, in terms of event pictures, so why would they get involved in this unless they get paid? Maybe Sony gets this, but let’s not dress for it just yet. Enough people in the mix are objecting strenuously enough right now and let’s face it, it isn’t really fair to them if their deal-making gets screwed up because of over-eager journos.

Linda Ge wrote:The Pirates of the Caribbean franchise certainly elicits its fair share of sneers from online film buffs, but the money speaks for itself when it comes to Disney justifying making more of them even as quality continues to dip and Johnny Depp is into island-buying money by now.

But it appears there’s no hesitation even on the studio’s end to make yet another one. Pirates 5 has been in the works for a long time, and even has directors attached, but at Disney’s conference call about its finances today, CEO Bob Iger cautions it’s not quite there yet:

Marc Graser wrote:Disney's Bob Iger says that the fifth Pirates of the Caribbean film has not yet been given the greenlight.

Though a matter of greenlight could change in an instant, if they have story, director, cast, etc. lined up.

But even franchise star Ian McShane didn’t seem so confident on the film ever happening last month, even mentioning how it’s been announced, and then pushed back, announced, and then pushed back, etc.

I’m not sure, but I don’t think too many people – at least online – will be mourning this one.

Steve Symington wrote:It's not often you see a movie exceeding $1 billion in global box office sales.

Of the nearly 700 films released over the past year, only two were able to do so. Curiously enough, both came from the creative minds at The Walt Disney Company (NYSE: DIS ) : First with $1.125 billion last summer from Disney Marvel's Iron Man 3, and more recently with $1.11 billion (and counting) from Walt Disney Animation's Frozen.

In fact, Disney accounts for seven of the 18 films that have ever managed to top the $1 billion mark worldwide -- unadjusted for inflation, that is -- with some of its other massive titles including Marvel's The Avengers, Pixar's Toy Story 3, and two films from the Pirates of the Caribbean franchise.

But this begs the question: What will Disney's next $1 billion movie be?

I think investors and movie fans need look no further than the May 30 debut of Maleficent:Disney, News Corp, Comcast, and DreamWorks all battle for box office supremacy

If the name sounds familiar, it's because Maleficent is the same thorn-manifesting, dragon-morphing, prince-kidnapping antagonist you've known and loathed ever since Disney first released Sleeping Beauty in 1959.

This in mind, nobody can guarantee Maleficent will ultimately be massive enough to reach $1 billion at the box office this year. But I love its chances considering Disney enlisted the exceptional writing talents of Linda Woolverton, whose work includes 1994's The Lion King and 2010's Alice in Wonderland. Even unadjusted for inflation, The Lion King achieved an incredible $987.5 million in worldwide box office sales 20 years ago, while Alice in Wonderland managed to reach $1.025 billion.

Regarding the latter, it appears Disney has identified an intriguing recipe for success: spend buckets of money to create convincing live-action takes on classic animated properties. While Disney hasn't released official production budget numbers for Maleficent, it seems fair to assume it must be in the neighborhood of the $200 million Disney spent bringing Alice in Wonderland to life.

Only this time, Disney has replaced Johnny Depp's supporting role as the Mad Hatter with Angelina Jolie headlining as Maleficent. Just take a look at Maleficent's latest goosebump-inducing trailer:

What's more, there's a notable lack of closely scheduled big-budget competition for Maleficent in its crucial first weekends.

By the time Maleficent is released in the U.S., News Corp's (NASDAQ: NWS ) 20th Century Fox will have already enjoyed the spoils of X-Men: Days of Future Past for a full week. Meanwhile, the only other film simultaneously entering wide release will be Comcast (NASDAQ: CMCSA ) Universal's A Million Ways to Die in The West.

Nobody expects Comcast's western comedy to set any records, but X-Men: Days of Future Past could be huge -- and it had better be for the sake of News Corp., which is rumored to have spent upwards of $240 million on the production. But even then, it's not as though the target audiences will overlap to a great degree between News Corp's mutant-powered action flick and Disney's princess-infused fantasy.

After that, it's not until three weekends following Maleficent's release audiences will be able to enjoy DreamWorks Animation's (NASDAQ: DWA ) worthy sequel in How to Train Your Dragon 2. By the time DreamWorks tries its hand at grabbing movie-goers' attention, Maleficent will have already secured the lions share of its early sales.

Jesse David Fox wrote:Why did you feel that this was the right time to make this movie both creatively and professionally?Because it hit me. The last time a script hit me, where I could sit down and write every day, all day until it all came out was 20 years ago: Swingers. I know enough now to get out of the way of that. And if I’m lucky enough to be inspired to do something, it’s not something that you can make happen, so when it does happen, you have to respect it.

And it turns out that it was the right thing for me. It was the best experience I can ever remember having of making a movie. It just felt really good to see that I can still do that. I didn’t know. I haven’t done that in a long time. To be able to act and make a movie where I got to have the final say in how I shot it, where I shot it, who's in it, what the script is, what the edit is, and not to be part of a committee, but to be a lone voice on a much smaller canvas, was potentially scary. I could've found out that I lost my voice and was just good for studio movies. So it was really good to go back to my roots. I feel reinvigorated and excited to be working on Jungle Book now. After doing a really little one like this, to go back to something that’s huge and extremely collaborative — it’s a nice change of pace.

You sound excited about making Jungle Book. Why do you still want to make blockbuster movies or big-studio movies? What makes you go back?I can’t write a script every year that comes from that place. When it happens I’ll do it again. I hope. For right now, I’m really having a lot of fun. I love working with visual effects. Right now, at this moment in history, you can’t do an effects-heavy small movie. To be honest with you, as we come up to the release date in the summer — I’ve been the windshield, and I’ve been the bug — when you do the big movies, it’s nice to know that people give you room to release your film, and you don’t have to claw your way to the screens. When you work on a little one, you can disappear in a blink of an eye and that’s sad. It doesn’t keep me from doing it, but when you’re doing a big movie that a big studio put a lot of money behind, has a good brand — and it comes out well, you sleep a little easier at night than you do with a little independent film.

The old auteur theory talks about how movies are ultimately defined by the visions of the director. When you’re making blockbusters, especially within an operation like Marvel's, is there room for a clear vision?I think the bigger the movie is, the harder it is to maintain the idea of an auteur. You’re servicing something beyond just your own vision. Whenever there’s a lot of money on the line, it is your responsibility to make sure that you’re doing your best to have people not lose their money and to actually win by betting on it. You’re balancing things other than your own personal tastes. That’s partly what we’re hired to do, and I’ve always been very comfortable with that arrangement.

Nowadays, there’s no excuse. If you want more creative control, just go smaller. Back at the time we made Swingers, it cost six figures to make a movie. Now you could make a movie now for hundreds or thousands. They’ll be small, they’ll be digital, you’ll be editing it on your laptop, but you can make a movie.

The sad part is that there’s no middle ground anymore. There are big movies and then there are small movies and then those mid-range movies — where you could be an auteur — the business model doesn’t seem to support those any longer. But what’s replacing it now is all the great work that’s happening on television and in other media. So I don’t think that it’s gone, I think there’s great work's being done, I just think the nature of what plays in the movie theater has changed a lot.

When you see what the Marvel universe has become, since Iron Man 2, how much do you see it as a point of pride, for setting the tone and paving the way for this giant thing, and how much regret do you have for not being more involved?The first thing it feels like is weird because, at the time of Iron Man, it was a new studio. There was a tremendous amount of doubt swirling around whether Marvel Studios would have worked at all outside of the established superheroes that already were successful. So it could not have been a smaller, more independent-feeling environment when we began. Everything was about keeping it within a certain budget parameter. If we went too expensive, the movie could have been taken over by the bond company, and if the movie wasn’t successful, Marvel could have lost all of their intellectual properties that they were using as collateral. It was very precarious at first. Now, [there's a] 180-degree difference. I think Marvel is the highest grossing franchise in history, if you add up everything. It really all started with Iron Man and a few tonal decisions that we made and some casting decisions that we made. That grew into Iron Man 2. Then, fortunately, other filmmakers came in like Joss [Whedon] who helped flesh out the world. So I’d say the bottom line is it feels very weird to see how big this little thing can become.

What’s nice is I’ve gotten to stay involved, whether it's acting in Iron Man 3 or being an executive producer on the Iron Man and Avenger films, so I still feel very much part of the family. But I also feel like I get to do different things like working on Jungle Book, still in the Disney family. Then I get to go off and make little movies like Chef. I really think that I found the right balance, and I certainly have been very grateful for the opportunity that the Marvel stuff has presented me with. But also it was very hard work doing those two movies back-to-back. My hat’s off to the filmmakers who work on those because it’s two years of nonstop concentration.

I really want to do Magic Kingdom. Part of what’s complicated about it is you’re mixing all of the different lands and characters together but between The Avengers and The Lego Movie, there seems to be a way to do it that doesn’t confuse the audience. Hopefully I’ll get to make that movie with Disney soon. Right now Jungle Book is the thing and hopefully through that partnership it’ll lead to getting the other film done because I think Magic Kingdom is a great idea for a film.

Borys Kit wrote:Disney is developing a live-action take on its 1941 animated classic Dumbo and has Transformers franchise writer Ehren Kruger penning the script.

Justin Springer, who worked on Tron: Legacy as well as Oblivion, is producing, as will Kruger.

At 64 minutes, Dumbo is one of Disney’s shortest features but remains one of its most emotionally satisfying ones as it tells the story of a baby circus elephant who is made fun for his large ears. When his mother steps in to protect him and is locked up for it, he ends up on the road with a mouse as his companion. The mouse instills into Dumbo the idea that with the help of a magic feather, he can fly.

The movie produced several classic songs, notably "When I See an Elephant Fly"; "Baby Mine," which was nominated for a best song Oscar; and "Pink Elephants on Parade."

The new take involves the adaptation of the original movie while adding a unique family story that parallels Dumbo's story. Also, the studio believes that because of the current state of CG technology, live-action movies featuring a soaring pachyderm (or any animal for that matter) are viable.

This is the latest classic animated title that Disney is turning into a live-action movie, and it’s a strategy that has paid off: Maleficent, the most recent example, is a re-imagining of the 1959 movie Sleeping Beauty and has grossed more than $630 million worldwide since its May 30 release. The granddaddy of them all is the Johnny Depp version of Alice in Wonderland, which has earned more than $1 billion.

Among the projects in the pipeline, Disney has a live-action take on Cinderella opening March 13, is in preproduction on The Jungle Book that Jon Favreau is directing and just put Bill Condon on a live-action remake of Beauty and the Beast.

The Transformers movies have occupied Kruger’s life for the past several years. He has sole writing credit on the current Age of Extinction and co-wrote 2011’s Dark of the Moon and 2009’s Revenge of the Fallen with Alex Kurtzman and Roberto Orci. He also is known for his twisty thrillers such as Arlington Road, Skeleton Key and The Ring.

Borys Kit wrote:The story tells of a straitlaced banker who returns to Magic Camp, which he attended as a shy child. This time he is a counselor who makes it his mission to improve the lives of all the kids while keeping an eye on his ultimate prize, the top spot at the Golden Wand competition.

The project is in Martin's wheelhouse as he got his start working at Magic Shop at Disneyland and was a magician in his early days as a comic.

Patrick Frater wrote:HONG KONG – Australia’s federal government has agreed to provide some US$20.2 million( A$21.6 million) of financial incentives in order to attract Disney’s upcoming “Pirates of the Caribbean: Dead Men Tell No Tales” to shoot in the country.

The agreement was announced by federal arts minister George Brandis.

Disney had previously received agreement for federal government funding of “20,000 Leagues Under The Sea,” but that project was shelved when director David Fincher dropped out.

Disney sought to have the funding promise re-allocated to the new film and topped up to a figure equal to 30% of its Australian budget.

“The government is pleased to agree to Disney’s request to enable earlier funding to be repurposed for the production of ‘Pirates of the Caribbean 5’,” said Brandis in a statement. “Any decision to film productions in Australia (such as ‘20,000 Leagues Under the Sea’ or ‘Pirates of the Caribbean 5’) is a commercial matter for Disney.”

The Brandis commitment falls short of the figure Disney is seeking, but it remains possible that Australian state governments will provide further cash in order to bring the production to regional locations and studios.

The studio is believed to be weighing up alternative locations including those in Mexico with water tanks where “Titanic” was filmed.

The state government in Queensland – home to the Village Roadshow Studios, located at Gold Coast – has said that it has ‘”done all that it can” to attract the production. And Australian craft union MEAA has endorsed an agreement in principle for “Pirates 5.”

Production would be expected to begin in early 2015, for a release of the completed picture in 2017.

Justin Kroll wrote:Bryce Dallas Howard is in early talks to play the female lead in Disney’s “Pete’s Dragon” reboot.

Robert Redford is also in talks to star with Oakes Fegley playing the title character.

David Lowery is set to direct from a script he wrote with Toby Halbrooks.

The story is a reinvention of the 1977 film that revolves around Pete and his best friend Elliot, who happens to be dragon. The first pic was a musical, but sources say this will be a straight narrative. The movie will be live-action with CGI used to bring the dragon to life.

Jim Whitaker is producing.

Howard, who is repped by ICM Partners and Management 360, can be seen next in “Jurassic World.” Other past credits include “The Help,” “Hereafter” and “50/50.”

Mike Fleming Jr wrote:EXCLUSIVE: Is the venerable rogue do-gooder Robin Hood becoming the “It” guy in Hollywood? Disney has acquired the Brandon Barker spec Nottingham & Hood, a revisionist take on the Robin Hood legend for Andrew Rona and Alex Heineman to produce through The Picture Company. This follows Sony staking a claim to Sherwood Forest as it bought a pitch by Cory Goodman and Jeremy Lott earlier this fall for high price. I’m told that Nottingham & Hood has a Pirates Of The Caribbean tone and the hope is to launch a new adventure franchise that fits Disney’s global brand

Esther Inglis-Arkell wrote:Black holes are what happens when matter is packed so densely that it compresses into a singularity... but some of them are still as light as air. If you think that's weird, it gets weirder. You make can make these ultra-light black holes even less dense by adding mass.

Black holes are so inescapably dense that we shouldn't even try to imagine what goes on inside them. Once anything passes the event horizon, it's inevitably headed for a grouping of matter so dense it compresses into a point. Although, of course, there's no way to add density to something that's infinitely dense — an infinite amount of mass in an infinitely small space — throwing matter over the event horizon has to increase a black hole's density, doesn't it?

You'd think so, but no. Adding mass to a black hole actually decreases its density. The more mass gets tossed in, the less dense a black hole gets. This happens because a black hole doesn't increase the way a regular ball of matter does. Two earths smashing into one another would not form a ball with twice the radius of the Earth. The volume may be doubled, but volume is determined by the cube of the radius, not the radius itself. So the radius of the new Double-Earth will only increase by the cube root of two.

When scientists worked out the radius of two black holes smashed together, though, they discovered that their radius does double when the mass doubles. The volume of a sphere is determined by the radius cubed, and thus cubing the number 2 shows us that the volume is now eight times what it was before the mass doubled. The average density of a black hole, or anything else, is the mass divided by the volume. The mass of the black hole just doubled, but the volume is now eightfold what it was before. Two divided by eight is one-fourth. So by doubling the mass, we decreased the average density of the black hole to one-fourth of what it was before.

This leads us in strange directions. A black hole with the mass of 387 million of our suns would have the average density of water. And, according to some, a black hole with the mass of our universe would have the average density of our universe — meaning that getting swallowed up by a black hole isn't quite as bad as it sounds.

they'd cast some white chick to play Pocahontas, and then the internet would explode, and the Powhatan Indian tribes would hack Disney's computers and release a bunch of embarrassing emails of Disney employees making fun of George Lucas's neck-sack, and the Pocahontas movie would end up being released VOD and downloaded by a billion fanboys who wouldn't have seen it in a million years otherwise. so yeah, that's definitely happening.

TheBaxter wrote:they'd cast some white chick to play Pocahontas, and then the internet would explode, and the Powhatan Indian tribes would hack Disney's computers and release a bunch of embarrassing emails of Disney employees making fun of George Lucas's neck-sack, and the Pocahontas movie would end up being released VOD and downloaded by a billion fanboys who wouldn't have seen it in a million years otherwise. so yeah, that's definitely happening.

TheBaxter wrote:they'd cast some white chick to play Pocahontas, and then the internet would explode, and the Powhatan Indian tribes would hack Disney's computers and release a bunch of embarrassing emails of Disney employees making fun of George Lucas's neck-sack, and the Pocahontas movie would end up being released VOD and downloaded by a billion fanboys who wouldn't have seen it in a million years otherwise. so yeah, that's definitely happening.

TheBaxter wrote:they'd cast some white chick to play Pocahontas, and then the internet would explode, and the Powhatan Indian tribes would hack Disney's computers and release a bunch of embarrassing emails of Disney employees making fun of George Lucas's neck-sack, and the Pocahontas movie would end up being released VOD and downloaded by a billion fanboys who wouldn't have seen it in a million years otherwise. so yeah, that's definitely happening.